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Jesus er mit Haab og Trøst

Author: Fr. Rostgaard; Luise Henriette Appears in 4 hymnals Lyrics: 1 Jesus er mit Haab og Trøst, Han, min Frelser, er i Live, Derfor jeg med Fryd og Lyst Al Tid mig tilfreds vil give, Hvad endog mig Dødens Stund Gi'r for Tanker mangelund. 2 Jesus Krist, min Frelsermand, Lever vist, og jeg skal skue Ham i det forjætted' Land, Hvorfor skulde jeg da grue? Han er Hoved, jeg et Lem, Han med sig mig fører hjem. 3 Jeg til ham med Haabets Baand Uopløselig er bunden, Saa skal og minTroes Haand Fæstet i ham blive funden, Saa mig aldrig Døden kan Skille fra min Frelsermand. 4 Jeg er Kjød og ganske vist Maa til Støv og Aske vorde, Men min Frelser, Jesus Krist, Skal opvække mig af Jorde, At jeg maa i Evighed Se ham i hans Herlighed. 5 Da skal atter denne Hud Disse Lemmer omkringgive, Ja i dette Legem Gud Skal af mig tilbedet blive, Og i dette Kjød jeg skal Jesus se i Himlens Sal. 6 Disse mine Øine og Ham, min Frelser, skulle kjende, Jeg, jeg selv–forklaret dog– Af hans Kjærlighed skal brænde, Saa at ingen Deel hos mig Være skal forkrænkelig. 7 Hvad her findes sygt og svagt, Friskt og herligt der skal møde, Jordisk vorder jeg nedlagt, Himmelsk staar jeg op af Døde, Her jeg bort naturlig gaar, Der et evigt Liv jeg faar. 8 Mine Lemmer, værer fro! Kristus bærer eder alle; Skal I end i Graven bo, Han herud vil eder kalde, Naar Basunens sterke Lyd Høres til de Frommes Fryd. 9 I kan le ad Satans List Og ad Dødens Falde-Snare, Thi igjennem Luften vist I til Jesum skulle fare, Da skal sorg og Vedermod Ligge under eders Fod. 10 Kun at eders Aand sig maa Ud fra Verdens Lyster rive, Sjælens himmelske Attraa I maa eder overgive! Helliger da eder til Himlen, hvor I være vil! Topics: Tjuetredje Søndag efter Trefoldigheds Fest Til Aftensang; Twenty-third Sunday after Trinity Sunday Evening; God's Call; Guds Kald; Haab og Længsel efter det Himmelske; Hope and Longing for the Heavenly; Søndag mellem Jul og Hyaarsdag Til Aftensang; Sunday between Christmas and New Years For Evening; 16 Søndag efter Trefoldigheds Fest Til Hoimesse; Sixteenth Sunday after Trinity Sunday High Mass; 26 Søndag efter Trefoldigheds Fest Til Hoimesse; Twenty-sixth Sunday after Trinity Sunday High Mass; Særlige Salmer Graven; Special Hymns The Grave Used With Tune: [Jesus er mit Haab og Trøst]

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[Jesus er mit Haab og Trøst]

Appears in 180 hymnals Composer and/or Arranger: J. Crüger Tune Key: C Major Incipit: 54367 11767 15434 Used With Text: Jesus er mit Haab og Trøst

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Jesus er mit Haab og Troest

Author: F. Rostgaard; Luise Henriette of Brandenburg Hymnal: Kirkesalmebog #d301 (1911) Languages: German
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Jesus er mit Haab og Trøst

Author: Fr. Rostgaard; Luise Henriette Hymnal: M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg #565 (1897) Lyrics: 1 Jesus er mit Haab og Trøst, Han, min Frelser, er i Live, Derfor jeg med Fryd og Lyst Al Tid mig tilfreds vil give, Hvad endog mig Dødens Stund Gi'r for Tanker mangelund. 2 Jesus Krist, min Frelsermand, Lever vist, og jeg skal skue Ham i det forjætted' Land, Hvorfor skulde jeg da grue? Han er Hoved, jeg et Lem, Han med sig mig fører hjem. 3 Jeg til ham med Haabets Baand Uopløselig er bunden, Saa skal og minTroes Haand Fæstet i ham blive funden, Saa mig aldrig Døden kan Skille fra min Frelsermand. 4 Jeg er Kjød og ganske vist Maa til Støv og Aske vorde, Men min Frelser, Jesus Krist, Skal opvække mig af Jorde, At jeg maa i Evighed Se ham i hans Herlighed. 5 Da skal atter denne Hud Disse Lemmer omkringgive, Ja i dette Legem Gud Skal af mig tilbedet blive, Og i dette Kjød jeg skal Jesus se i Himlens Sal. 6 Disse mine Øine og Ham, min Frelser, skulle kjende, Jeg, jeg selv–forklaret dog– Af hans Kjærlighed skal brænde, Saa at ingen Deel hos mig Være skal forkrænkelig. 7 Hvad her findes sygt og svagt, Friskt og herligt der skal møde, Jordisk vorder jeg nedlagt, Himmelsk staar jeg op af Døde, Her jeg bort naturlig gaar, Der et evigt Liv jeg faar. 8 Mine Lemmer, værer fro! Kristus bærer eder alle; Skal I end i Graven bo, Han herud vil eder kalde, Naar Basunens sterke Lyd Høres til de Frommes Fryd. 9 I kan le ad Satans List Og ad Dødens Falde-Snare, Thi igjennem Luften vist I til Jesum skulle fare, Da skal sorg og Vedermod Ligge under eders Fod. 10 Kun at eders Aand sig maa Ud fra Verdens Lyster rive, Sjælens himmelske Attraa I maa eder overgive! Helliger da eder til Himlen, hvor I være vil! Topics: Tjuetredje Søndag efter Trefoldigheds Fest Til Aftensang; Twenty-third Sunday after Trinity Sunday Evening; God's Call; Guds Kald; Haab og Længsel efter det Himmelske; Hope and Longing for the Heavenly; Søndag mellem Jul og Hyaarsdag Til Aftensang; Sunday between Christmas and New Years For Evening; 16 Søndag efter Trefoldigheds Fest Til Hoimesse; Sixteenth Sunday after Trinity Sunday High Mass; 26 Søndag efter Trefoldigheds Fest Til Hoimesse; Twenty-sixth Sunday after Trinity Sunday High Mass; Særlige Salmer Graven; Special Hymns The Grave Languages: Norwegian Tune Title: [Jesus er mit Haab og Trøst]
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Jesus er mit Haab og Trøst

Author: Louise Henriette; Fr. Rostgaard Hymnal: Salmebog for Lutherske Kristne i Amerika #565 (1919) Lyrics: 1 Jesus er mit Haab og Trøst, Han, min Frelser, er i Live, Derfor jeg med Fryd og Lyst Al Tid mig tilfreds vil give, Hvad endog mig dødens Stund Gi'r for Tanker mangelund. 2 Jesus Krist, min Frelsermand, Lever vist, og jeg ksla skue Ham i det forjætted' Land, Hvorfor skulde jeg da grue? Han er Hoved, jeg et Lem, Han med sig mig fører hjem. 3 Jeg til ham med Haabets Baand Uopløselig er bunden, Saa skal og minTroes Haand Fæstet i ham blive funden, Saa mig aldrig Døden kan Skille fra min Frelsermand. 4 Jeg er Kjød og ganske vist Maa til Støv og Aske vorde, Men min Frelser, Jesus Krist, Skal opvække mig af Jorde, At jeg maa i Evighed Se ham i hans Herlighed. 5 Da skal atter denne Hud Disse Lemmer omkringgive, Ja i dette Legem Gud Skal af mig tilbedet blive, Og i dette Kjød jeg skal Jesus se i Himlens Sal. 6 Disse mine Øine og Ham, min Frelser, skulle kjende, Jeg, jeg selv–forklaret dog– Af hans Kjærlighed skal brænde, Saa at ingen Del hos mig Være skal forkrænkelig. 7 Hvad her findes sygt og svagt, Friskt og herligt der skal møde, Jordisk vorder jeg nedlagt, Himmelsk staar jeg op af Døde, Her jeg bort naturlig gaar, Der et evigt Liv jeg faar. 8 Mine Lemmer, værer fro! Kristus bærer eder alle; Skal I end i Graven bo, Han herud vil eder kalde, Naar Basunens stærke Lyd Høres til de Frommes Fryd. 9 I kan le ad Satans List Og ad Dødens Garn og Snare, Thi igjennem Luften vist I til Jesus skulle fare, Da skal sorg og alt Mismod Ligge under eders Fod. 10 Kun at eders Aand sig maa Ud fra Verdens Lyster rive, sjælens himmelske Attraa I maa eder overgive! Helliger da eder til Himlen, hvor I være vil! Topics: Truetredje Søndag efter Trefoldigheds Ord Til Aftengudstjeneste; Twenty third Sunday after Trinity Sunday; Sunday after Christmas; Sixteenth Sunday after Epiphany; Tjuefjerde Søndag efter Trefoldiheds Fest Til Aftengudstjeneste - Til Tredje Tekstrækkes Epistel; Twenty fourth Sunday after Trinity Sunday; Twenty fourth Sunday after Trinity Sunday; Haab; Hope; Jesus, vort Liv; Jesus, Our Life; Opstandelsen; Resurrection; Sextende Søndag efter Trefoldiheds Fest Til Høimesse -Til Anden Tekstrækkes Evangelium; Søndag efter Jul Til Aftengudstjeneste - Til Anden Tekstrækkes Lektie; Tjuefjerde Søndag efter Trefoldiheds Fest Til Aftengudstjeneste - Til Anden Tekstrækkes Epistel Languages: Norwegian

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Johann Crüger

1598 - 1662 Person Name: J. Crüger Composer (attributed to) of "[Jesus er mit Haab og Trøst]" in M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg Johann Crüger (b. Grossbriesen, near Guben, Prussia, Germany, 1598; d. Berlin, Germany, 1662) Crüger attended the Jesuit College at Olmutz and the Poets' School in Regensburg, and later studied theology at the University of Wittenberg. He moved to Berlin in 1615, where he published music for the rest of his life. In 1622 he became the Lutheran cantor at the St. Nicholas Church and a teacher for the Gray Cloister. He wrote music instruction manuals, the best known of which is Synopsis musica (1630), and tirelessly promoted congregational singing. With his tunes he often included elaborate accom­paniment for various instruments. Crüger's hymn collection, Neues vollkomliches Gesangbuch (1640), was one of the first hymnals to include figured bass accompaniment (musical shorthand) with the chorale melody rather than full harmonization written out. It included eighteen of Crüger's tunes. His next publication, Praxis Pietatis Melica (1644), is considered one of the most important collections of German hymnody in the seventeenth century. It was reprinted forty-four times in the following hundred years. Another of his publications, Geistliche Kirchen Melodien (1649), is a collection arranged for four voices, two descanting instruments, and keyboard and bass accompaniment. Crüger also published a complete psalter, Psalmodia sacra (1657), which included the Lobwasser translation set to all the Genevan tunes. Bert Polman =============================== Crüger, Johann, was born April 9, 1598, at Gross-Breese, near Guben, Brandenburg. After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olmütz, and the Poets' school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas's Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Crüger wrote no hymns, although in some American hymnals he appears as "Johann Krüger, 1610,” as the author of the supposed original of C. Wesley's "Hearts of stone relent, relent" (q.v.). He was one of the most distinguished musicians of his time. Of his hymn tunes, which are generally noble and simple in style, some 20 are still in use, the best known probably being that to "Nun danket alle Gott" (q.v.), which is set to No. 379 in Hymns Ancient & Modern, ed. 1875. His claim to notice in this work is as editor and contributor to several of the most important German hymnological works of the 16th century, and these are most conveniently treated of under his name. (The principal authorities on his works are Dr. J. F. Bachmann's Zur Geschichte der Berliner Gesangbücher 1857; his Vortrag on P. Gerhard, 1863; and his edition of Gerhardt's Geistliche Lieder, 1866. Besides these there are the notices in Bode, and in R. Eitner's Monatshefte für Musik-Geschichte, 1873 and 1880). These works are:— 1. Newes vollkömmliches Gesangbuch, Augspur-gischer Confession, &c, Berlin, 1640 [Library of St. Nicholas's Church, Berlin], with 248 hymns, very few being published for the first time. 2. Praxis pietatis melica. Das ist: Ubung der Gottseligkeit in Christlichen und trostreichen Gesängen. The history of this, the most important work of the century, is still obscure. The 1st edition has been variously dated 1640 and 1644, while Crüger, in the preface to No. 3, says that the 3rd edition appeared in 1648. A considerable correspondence with German collectors and librarians has failed to bring to light any of the editions which Koch, iv. 102, 103, quotes as 1644, 1647, 1649, 1650, 1651, 1652, 1653. The imperfect edition noted below as probably that of 1648 is the earliest Berlin edition we have been able to find. The imperfect edition, probably ix. of 1659, formerly in the hands of Dr. Schneider of Schleswig [see Mützell, 1858, No. 264] was inaccessible. The earliest perfect Berlin edition we have found is 1653. The edition printed at Frankfurt in 1656 by Caspar Röteln was probably a reprint of a Berlin edition, c. 1656. The editions printed at Frankfurt-am-Main by B. C. Wust (of which the 1666 is in the preface described as the 3rd) are in considerable measure independent works. In the forty-five Berlin and over a dozen Frankfurt editions of this work many of the hymns of P. Gerhardt, J. Franck, P. J. Spener, and others, appear for the first time, and therein also appear many of the best melodies of the period. 3. Geistliche Kirchen-Melodien, &c, Leipzig, 1649 [Library of St. Katherine's Church, Brandenburg]. This contains the first stanzas only of 161 hymns, with music in four vocal and two instrumental parts. It is the earliest source of the first stanzas of various hymns by Gerhardt, Franck, &c. 4. D. M. Luther's und anderer vornehmen geisU reichen und gelehrten Manner Geistliche Lieder und Psalmen, &c, Berlin, 1653 [Hamburg Town Library], with 375 hymns. This was edited by C. Runge, the publisher, and to it Crüger contributed some 37 melodies. It was prepared at the request of Luise Henriette (q.v.), as a book for the joint use of the Lutherans and the Re¬formed, and is the earliest source of the hymns ascribed to her, and of the complete versions of many hymns by Gerhardt and Franck. 5. Psalmodia Sacra, &c, Berlin, 1658 [Royal Library, Berlin]. The first section of this work is in an ed. of A. Lobwasser's German Psalter; the second, with a similar title to No. 4, and the date 1657, is practically a recast of No. 4,146 of those in 1653 being omitted, and the rest of the 319 hymns principally taken from the Praxis of 1656 and the hymn-books of the Bohemian Brethren. New eds. appeared in 1676, 1700, 1704, 1711, and 1736. [Rev. James Mearns, M.A.] -- Excerpt from John Julian, Dictionary of Hymnology (1907) ======================= Crüger, Johann, p. 271, ii. Dr. J. Zahn, now of Neuendettelsau, in Bavaria, has recently acquired a copy of the 5th ed., Berlin, 1653, of the Praxis. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Electress Luise Henriette

1627 - 1667 Person Name: Luise Henriette Author of "Jesus er mit Haab og Trøst" in M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg Luise Henriette, Electress of Brandenburg, daughter of Friedrich Heinrich, Prince of Nassau-Orange and Stadtholder of the United Netherlands, was born at 'S Gravenhage (The Hague), Nov. 27, 1627. She received a careful Christian training, not only in literature, but also in domestic economy and feminine handicrafts. On Dec. 7, 1646, she was married, at the Hague, to the Elector Friedrich Wilhelm of Brandenburg, who was then residing at Cleve, but remained at the Hague to nurse her father, who died March 14, 1647. She then, in June, 1647, joined her husband at Cleve, where her first child, Wilhelm Heinrich, was born in May 1648. In the autumn of 1619 she set out with her husband and child on the way to Berlin, but in the inclement weather the child sickened and died at Wesel, Oct. 24,1649, and it was not till April 10, 1650, that she entered Berlin. On the birth of her second son, Carl Emil (who died 1674), at Oranienburg, near Berlin, on Feb. 16, 1655, she founded an orphanage there as a thank-offering (now the Oranienburg Orphanage at Berlin). On July 11, 1657, her third son, afterwards King Friedrich I. of Prussia, was born at Königsberg. After the birth of her youngest son, Ludwig, at Cleve, in 1666, she never entirely recovered. In the spring of 1667 she was conveyed to Berlin in a litter, and died there June 18, 1667. (Koch, iv. 158; Allgemeine Deutsche Biographie, xix. 623; Goedeke's Grundrias, vol. iii., 1887, p. 319, &c.) Luise Henriette was a woman of noble character; a devoted wife who accompanied her husband in many of his expeditions, and was his right-hand counsellor in matters of state; and a true mother of her people, introducing the culture of the potato, founding model farms, establishing elementary schools, and in many ways interesting herself in restoring their welfare after the ravages of the Thirty Years' War. She was, like the Elector, a member of the Reformed Church, but earnestly desired to promote peace between the Lutheran and Reformed communions, and exerted herself especially on behalf of P. Gerhardt. Another of her efforts in this direction was by means of the Union Hymn Book, which Christoph Runge edited at her direction, and published in 1653. To this book she herself contributed four hymns. In his dedication to the Electress, Runge says she had "augmented and adorned it with your own hymns, viz.: ‘Ein ander stelle sein Vertrauen'; ‘Gott der Reichthumb deiner Güter'; 'Jesus meine Zuversicht'; 'Ich wil von meiner Missethat.' Your Electoral Highness has not only in those your now mentioned hymns (itzt gemeldten geistreichen Ihren eigenen Liedern) made known to all the world your Christian spirit; how your confidence is directed to God alone; how you ascribe to him with thankful heart all the benefits you enjoy; and how you rest the hope of your future everlasting life in Heaven on Christ alone as on a steadfast rock, but have also," &c. &c. The question however remains. Did Runge here mean more than that she had sent for insertion certain hymns which were favourites of her own, perhaps written for her, but not necessarily written by her? Such cases were common enough at an earlier period. It is certainly strange that her name should not be given in any of the many hymn-books in which the third of these ("Jesus meine Zuversicht") was included during the next century. It was not till 1769 that Runge's dedication suggested to D. G. Schöber, and, after him, to other compilers, the idea of the Electress's authorship; but once suggested it was soon generally accepted. Fischer, i. 390-396, gives various additional reasons that make this theory unlikely; such as that while in Runge's dedication they are mentioned as above, yet her name is not affixed to the individual hymns in the body of the book; that in the funeral oration by her private chaplain, no mention is made of her poetical gifts; that Crüger gave them in his Praxis pietatis melica without her name (in the 1664 and later editions the first was omitted), and that in particular the third is too classic and correct in style to have been written by so poor a German scholar as the Electress. This last objection would of course be met if we could suppose with Koch (iv. p. 169) that the hymn was originally written in Dutch, or with Dutch idioms, and was revised and corrected by her minister, Otto von Schwerin, or by Runge. In view of the present evidence we can only say that if the Electress were not the author of these hymns there is at least no proof of any kind to show that they were composed by any of those whose names have sometimes been attached to them; such as Otto von Schwerin (b. 1616, d. 1679), Caspar Ziegler (b. 1621, d. 1690), Hans von Assig (b. 1650, d. 1694), and others. In this state of uncertainty the case must be left till definite proof be forthcoming. Two of these hymns have passed into English, viz.:— i. Ich will von meiner Missethat. Lent. This beautiful hymn first appeared in the Crüger-Runge Gesang-Buch, 1653, No. 45, in 16 st. of 7 1., entitled, "Hymn of Penitence," and without signature. Koch, iv. 160, conjectures that it may have been written at Cleve in 1648. In the Unverfälschter Liedersegen 1851, No. 380. The translations are :— (1) "With sorrow now for past misdeeds," by Miss Cox, 1864, p, 204. (2) "I will return unto the Lord," by Miss Winkworth, 1869, p. 221. ii. Jesus meine Zuversicht. Easter. This beautiful hymn, founded on Job xix. 25-27 and 1 Cor. xv. 35 ff., appeared in the Crüger-Runge Gesang-Buch, 1653, No. 140, in 10 st. of 6 l., and without signature. Its origin is thus given by Lauxmann, in Koch, viii. 69:— "It dates from the early years of her married life. In the autumn of 1649 she lost her first child, the Crown Prince Wilhelm Heinrich, at Wesel, while on her journey [to Berlin], by which death for a long time the hope of succession in the Electoral House and in the Hohenzollern family line seemed to be lost. At Tangermünde, in the Altmark [on the Elbe], she had to spend some quiet winter months, and here probably the princess of twenty-two years poured out her heart before the Lord in this hymn." This, however, is conjecture rather than history; for, as stated above, it is not yet clearly proved that the Electress wrote any hymns. The hymn itself is of the first rank; and A. J. Rambach calls it "an acknowledged masterpiece of Christian poetry;" while C. von Winterfeld says, "it will ever remain a treasure among the hallowed songs of the Evangelical Church." It bears a certain resemblance to the concluding section of the Apotheosis of A. C. Prudentius (lines 1063-1085, with the subtitle "De resurrectione carnis humanae," and beginning, "Nosco meum in Christo corpus consurgere. Quid me"); but can hardly be called a translation of it. It was included in Crüger's Praxis, 1656, No. 182, passed into almost all later hymn-books, and is No. 866 in the Unverfälschter Liedersegen, 1851. The beautiful chorale (as in the Chorale Book for England) appeared in its first form in 1653, along with the hymn. C. von Winterfeld conjectured that it may have been by the Electress. The form now in use is modified from that given by Crüger in his Praxis, 1656. Translated as:— 1. Christ, my Rock, my sure Defence. Omitting st. ix., as No. 51 in the Moravian Hymn Book 1769. In the edition of 1789. No. 833, st. viii. was omitted, and a translation from Christian Gregor’s "Nein, ach nein, er lasst mich nicht," was added as st. iii. (ed. 1886, No. 1241). Abridged forms are in J. A. Latrobe's Collection, 1841, and Dr. Hook's Church School Hymn Book, 1850. 2. Jesus, on Whose name I rest. A good translation of st. i.-iv., vi., by A. T. Russell, as No. 264, in his Psalms & Hymns, 1851. 3. Jesus, my Redeemer, lives. A good translation, omitting st. iv., v., by Miss Winkworth, in her Lyra Germanica 1st Ser., 1855, p. 93. Repeated, in full, in the Ohio Evangelical Lutheran Hymnal

F. Rostgaard

Person Name: Fr. Rostgaard Author of "Jesus er mit Haab og Trøst" in M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg